Bringing Back the Blue Note by Clive Young

Bringing Back the Blue Note By Clive Young s one of the best-known jazz clubs in the world, New York City’s Blue Note A has been a mainstay of the city’s music scene for decades, and this month !inds the intimate Greenwich Village venue celebrating its The Blue Note Jazz Festival kicked off June 15 with a Robert Glasper show. PHOTO: Nagamitsu Endo 40th anniversary. While the Blue Note has hosted music legends across the years and spawned its own annual festival, it hasn’t been immune to the have been 60 people. We were lucky, because working at Blue Note in 2008. “When I was coming effects of the pandemic, or that New York City it happened to align almost to the day with the up, it was a great opportunity—I got to shadow venues were shuttered for months on end. Governor’s reopening of New York City—we got to some amazing engineers, pick their brains and “Last fall, we were doing a lot of livestreams— open the Blue Note without the social distancing watch for what to do and not do.” While he still two or three a weekend, partnering up with the and the Plexiglas that we had invested in and tackles some Blue Note gigs, these days, LaMarca’s Japanese network NHK, and then we started installed. We’re at full capacity and abiding by main focus is his work as production manager of doing socially distanced shows again around everything the laws and regulations require.” 1,200-seat Sony Hall in Times Square—which is February with small audiences until the city With the potential sound reflection nightmare owned by both venues’ parent company, Blue Note closed back down again,” recalled production of Plexiglas out of the way, the Blue Note has Entertainment Group. manager Patrick LaMarca. returned to hosting two sets a night, though its One of the key things audio staffers pick up at When the pandemic began to subside in the traditional weekend late-night sets and Sunday the Blue Note is flexibility, as the club might host spring, the possibility of reopening again started to brunch remain on hold. While the stage is a solo piano player one week and then tack on a become a real possibility, though what restrictions centrally placed in the room, the FOH mix stage extension the next week to make room for a that might entail were still unknown. Undeterred, position is set off in a far corner and centered 17-piece big band. With such variety of artists and director of programming Alex Kurland began around a Yamaha CL3 mixer that sends signal to genres—August alone saw the club host everything planning the club’s annual Blue Note Jazz Festival, a Peltrix-designed loudspeaker system of custom from Ron Carter to GZA with Talib Kweli—the mic which encompasses gigs not only at the venue but SLS boxes and two d&b audiotechnik cardioid locker gets a workout, too. Along with numerous other sites as well, including the 5,000-capacity subs per side, all powered by Yamaha amps. Countryman and BSS DIs, the venue always has Central Park Summerstage. Since acts typically play a six-day run, Tuesday a selection of Shure SM81s, AKG C414 and 451s, “We went into booking the Blue Note Jazz through Sunday, a staff engineer is assigned to the Sennheiser MD 441 and e609s, Electro-Voice RE- Festival, June 15 through August 15, based on length of a run. “We work with artists’ engineers 20s, DPAs for the piano, a few Neumanns and a much lower capacity,” said Kurland. “We’re a all the time; they bring in their show !ile and more on-hand. 200-capacity venue, so scaled down, it would we facilitate the run,” said LaMarca, who began Getting back to live music has been a pleasure for LaMarca, who spent the pandemic watching his side hustle—4 AM Candy Co., which makes giant gourmet peanut butter cups—go supernova after a writeup in Time Out New York. “These days, I’m running from a kitchen to a venue and back to the kitchen,” he laughed. “It’s been a really weird year.” The artists and audiences have welcomed live music’s return, too. “We’ve had a lot of underplays,” said Kurland. “Jacob Collier is playing tonight at the Blue Note, whereas he could play Radio City Music Hall now…. For a lot of the artists, it’s their !irst show since the pandemic, and likewise for most of the audience, so it’s been a love fest going on all around—a high level of New York City audiences have gratitude and appreciation for just being able to flocked to the return of live music. PHOTO: Nagamitsu Endo be in a venue and see great music.” mixonline.com | SEPTEMBER 2021 | MIX 29.

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